by Ben Hogwood

What’s the story?

Anthony Wilson has a most impressive musical CV. While big band jazz played a pivotal role in his musical upbringing, he also has a great deal of experience in pop music, playing with Paul McCartney, Leon Russell, Randy Crawford and Willie Nelson among many others. To an extent, that is the ‘day’ job – for as a composer Wilson has an experimental and exploratory approach, looking for new sounds and collaborators.

To that end his new album Collidon finds him trying out new sounds and instruments in the company of fellow Colorfield luminaries Anna Butterss, Daniel Rotem, Mark Giuliana and Rob Moose. The producer is Pete Min – and Wilson helpfully lists all the instruments used in the recording (including the keyboards) on the album’s Bandcamp page.

For those wondering, as I was, what ‘collodion’ is, it is a highly flammable solution used in the manufacture of photographic film, or in medicine for sealing wounds.

What’s the music like?

Open minded – but Wilson is not a composer to lose his focus or indulge himself by seeing how many genres he can tick off for the sake of it.

Instead, we are treated to an album that is an exploration for the performers and the listener. Much of it has an instinctive feel, but this is the environment in which Wilson is most effective, with a sixth sense that tells him when to stick and when to twist.

The balance of kinetic energy and contemplation is finely achieved, allowing Wilson time out on Heart Whispering but bringing urgent dialogue to The Daughters Of Night, an atmospheric compilation of nocturnal noises and melodic snippets.

The piano often acts as the fulcrum in his music, whether in the stately chords of Keeping, complemented by more mysterious gamelan sounds, or by providing the harmony for Arrival At Kanazawa, which develops above an urgent drum track to express profound thoughts on the guitar. Dream Oracle adds a breathy tenor saxophone (Daniel Rotem) to its explorations, while the title track features a beautiful, silvery string arrangement executed by Rob Moose.

Does it all work?

Yes – though the feeling persists that Wilson could have enhanced the smaller tracks further, such as the glittering textures of Divine One.

Is it recommended?

It is, enthusiastically. An engaging and sonically rewarding piece of work.

Listen

Buy